By George Stiny
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Additional resources for Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts
Hence, the two performances may be interpreted and evaluated identically by one criticism algorithm and differently by another. 28 Receptors This discussion for copies, performances, and prints applies equally well to the problem of forgery in painting. Is there an aesthetic difference between the original of a picture and a forgery? For a criticism algorithm, there may or may not be an aesthetic difference between the original and a forgery. If the original and a forgery have identical descriptions, then they are indistinguishable for the criticism algorithm and, hence, they are interpreted and evaluated identically.
6-1). Here, the reference algorithm simply makes a comparison between two sequences of symbols and, hence, is easily constructed. Aesthetic systems based on the constructive mode of understanding are characterized by their reference algorithms. Any aesthetic system in which reference is determined as stipulated in the previous paragraph is based on the constructive mode of understanding. Example We now give the interpretation algorithm and reference algorithm of a simple aesthetic system based on the constructive mode of understanding.
The reason for this difference is that while the conventions of English usage seem universally applicable, the interpretative conventions encoded in an aesthetic system may be applicable only to, say, paintings of a certain type or style. The range of objects with which an aesthetic system can deal can be very broad or narrow, depending on the applicability of the interpretative conventions encoded in the interpretation algorithm and reference algorithm of the aesthetic system. For example, an aesthetic system may deal with only paintings, only representational paintings, only representational paintings of a certain period or style, only paintings of one particular artist, only one painting, and so on.
Algorithmic Aesthetics: Computer Models for Criticism and Design in the Arts by George Stiny